MCBA – Musée Cantonal des Beaux-Arts by Barozzi Veiga

Original architecture fragments integrate into new structures

Project Specs

Design Firm:
Location:

感谢 Barozzi Veiga 予gooood分享以下内容。更多关于:Barozzi Veiga on gooood.
Appreciation towards  for providing the following description:

在2019年4月5日——6日,MCBA洛桑州立美术馆的钥匙已送达沃州。博物馆目前仍处于关闭状态,内部正紧锣密鼓的筹备着2019年10月6日的首展开幕。2011年Barozzi Veiga赢得了瑞士洛桑新艺术区——Platform 10总体规划及美术馆设计的国际竞赛。位于城市中心的这一项目为城市的三大博物馆提供了一个总体性的规划:MCBA洛桑州立美术馆、MUDAC当代设计及应用艺术博物馆、Musée de l’Elysée摄影博物馆。

On the 5th and 6th of April 2019 the keys of the MCBA Lausanne were delivered to the Canton of Vaud. The museum is currently still closed in preparation for the opening of its first exhibition on the 6th of October, 2019. In 2011 Barozzi/Veiga won the international competition for the masterplan of the new Art district in Lausanne, Switzerland – Platform 10 – and the design of the Fine Arts Museum. Located in the city centre, the project proposed a master plan for the city´s three main museums: the Museum of Fine Arts MCBA, the Museum of Contemporary Design and Applied Arts MUDAC and the Photography Museum Musée de l’Elysée.

▼美术馆外观,exterior of the art museum  ©Simon Menges

美术馆位于场地南部边缘,呈现为一个纵向的单一体块,与铁轨平行。如同火车站一样,它限定了一个城市空间的同时保护它免受火车干扰。秉承这一条件,三个博物馆中最大的美术馆,承载并展现了场地的记忆,以其实用的形态、严谨的几何形与硬朗尖锐的线条呼应了场地原有的工业特征。MCBA因场地而存在,它试图塑造一种特定的氛围,将建筑与城市在空间与历史层面上锚固起来。

The new Museum of Fine Arts takes place on the site’s southern edge as a longitudinal monolithic volume, parallel to the rails. Like the train station, it defines an urban space while protecting it from the trains’ nuisances. Embracing this condition, the Museum of Fine Arts, the biggest of the three museums, carries and expresses the memory of the site, echoing to the former industrial condition of the site with pragmatic forms, rigorous geometry and hard, sharp lines. The MCBA is specific to its site, it tries to establish a link with a certain atmosphere, to anchor it in the city in both space and history.

▼美术馆位于场地南部边缘,呈现为一个纵向的单一体块,与铁轨平行,the new Museum of Fine Arts takes place on the site’s southern edge as a longitudinal monolithic volume, parallel to the rails

场地占地约2公顷,靠近中央火车站,主要被一座19世纪的老火车站和一些工业建筑所占据。作为一项城市策略,项目采用了一种新的结构空间——一个围绕着新美术馆的公共广场。广场空间沿着场地延伸,让建筑与城市尺度肌理相结合,并通过连接现有火车站广场,融入和延续城市公共空间。建筑成为城市生活的框架,是新公共广场的容器。塑造城市空间意味着需要拆除部分现有火车站大厅。但是,保留下来的遗迹能够延续这一场地中的记忆。项目保留了原有火车站大厅的一部分,将其改造为项目的中心部分。建筑新与旧之间形成了一种经典关系:MCBA新建筑作为背景烘托了旧拱形窗的存在,这是一个旧建筑片段,是从轨道方向上看建筑具有的突出结构和重要特征。为了保护内部藏品,整个建筑相对封闭,因此南向临近铁轨的是一个封闭、内向的立面,北部则是一个更开放、更具渗透性和生动的立面。

The site of more than 2 hectares, near the central train station, was mostly occupied by an old 19th century train hall and some other industrial buildings. As an urban strategy, the projects implement a new structuring void, a new public plaza around which the museums gravitate. The void stretches along the site and integrates the buildings in the scale of the city fabric and, by connecting to the existing train station plaza, installs them in continuity of the city´s public space. The architecture becomes the frame of the urban life of the city, the container of the new public plaza. The opportunity to create an urban void led to demolition of part of the existing train hall. However, the preservation of the memory of a place is achieved through the preservation of fragments. The project preserves part of the original hall and transforms it as a central piece of the project. In a very classical relationship, the new building of the MCBA acts as a background highlighting the presence of the old arched window as a fragment, a protuberance and main protagonist of the building from the rails. The overall building is relatively hermetic , to protect the collections of the museum, and hence has a closed, introverted façade to the rails, on the south, and a more open, permeable, animated façade on the north.

▼项目南侧火车轨道景观,新建筑作为背景烘托了旧拱形窗的存在,train rails view on the south of the site,  the new building of the MCBA acts as a background highlighting the presence of the old arched window   ©Simon Menges

▼场地周边工业建筑,some other industrial buildings near the site  ©Simon Menges

建筑拥有两个正面,南侧封闭,北侧更加开放和充满活力,与广场形成对话。北侧立面光照被贯穿整个高大窗户的垂直宽片状结构削减到最弱。这些片状结构的设计是为了防止阳光直射到建筑对光线敏感的区域。上层空间利用朝北的模块化采光井自然采光,过滤和调节太阳光线。采光井内部有一个百叶窗系统,可以精确控制进入室内的光线数量以及可能出现的昏暗环境。

▼南侧封闭立面,opaque south facade

▼北侧立面开放和充满活力,与广场形成对话,a more open and animated to the north, creating a dialogue with the new plaza

The building offers two facades, one opaque to the south and a more open and animated to the north, creating a dialogue with the new plaza. The North façade’s light exposure is minimized by deep vertical fins in between which are pierced tall and large windows. The fins are designed to prevent direct sunlight from ever entering the light-sensitive zones of the building. The upper floor is naturally lit from north oriented modular sheds designed to filter and adjust the solar light. The sheds possess an internal system of blinds to allow a meticulous control of the amount of light entering the rooms as well as the possibility of a dimmed atmosphere.

▼北侧立面光照被贯穿整个高大窗户的垂直宽片状结构削减到最弱,the North façade’s light exposure is minimized by deep vertical fins in between which are pierced tall and large windows  ©Simon Menges

▼片状结构防止阳光直射到建筑对光线敏感的区域,the fins are designed to prevent direct sunlight from ever entering the light-sensitive zones of the building  ©Simon Menges

▼北侧及外部广场(施工中),north facade and plaza (under construction)  ©Simon Menges

美术馆由三层空间构成,中央大厅连续的通高体量连接各层并作为流通空间。内部功能连接外部空间,因此首层立面上开设了许多洞口。首层作为公共广场的延伸,是咖啡厅、书店、入口、礼堂等主要社交空间所在的场所。一步入大厅,旧建筑保留下来的片段立刻向人们展示着它们作为新MCBA重要结构部件的新角色。这里,雕刻拱门与大厅简洁、双层高度的空间产生共鸣,并与火车轨道景观建立联系。它同样也作为空间结构,组织上层空间的主要流线,将永久性和临时性展览区分开。

The museum is organized on three floors connected by the continuous void of the foyer that structures the circulation.On the ground floor contains all the social functions of the program: foyer, bookshop, restaurant, auditorium and temporary gallery for contemporary art. The façade on that level is very porous, for these internal functions to be in continuity with the exterior public space of the plaza. The ground floor was developed as the extension of the public plaza and thus shelters the main social programs, of the café, bookshop, entrance, auditoriums etc. Once within the foyer, the saved fragment reveals its full role as a substantial structuring component of the new MCBA. Here the carved arch resonates with the tranquil, double height space of the foyer and connects it with the view of the train tracks. It also structures the program, organizing the main circulation to the upper floors, and separating the permanent and temporary exhibitions.

▼美术馆由三层空间构成,中央大厅连续的通高体量连接各层并作为流通空间,the museum is organized on three floors connected by the continuous void of the foyer that structures the circulation  ©Simon Menges

▼雕刻拱门与大厅简洁宁静、双层高的空间产生共鸣, the carved arch resonates with the tranquil, double height space of the foyer  ©Simon Menges

▼内部功能作为广场外部空间的延续,因此首层立面上开设了许多洞口,the façade on that level is very porous, for these internal functions to be in continuity with the exterior public space of the plaza  ©Simon Menges

上部几层大厅两侧的区域是展览空间。永久性展厅位于东侧,与西侧临时性展厅分隔开,借助独立的垂直交通体系,参观者可以一同或并行参观这些空间,这也使得未来展出更复杂的综合性展品或更小的微型展品成为可能。永久性展览的连接部分被设想为一个社交和活动空间,楼梯区域形成小型讲座或开幕式的礼堂空间。设计方案的复杂性以一种简单综合的策略进行处理,五个核心构成了项目每一层的空间,同时也作为结构部件塑造建筑形态。上层空间沐浴在朝向北方的模块化梯形天窗引入的阳光之中,天窗分散了光线并且为艺术品提供了绝佳的光照条件。

▼借助独立的垂直交通体系,参观者可以一同或并行参观展览空间,exhibition spaces can be visited together or in parallel thanks to independent vertical circulations  ©Simon Menges

▼垂直交通体系,vertical circulation space  ©Simon Menges

On the higher levels, on both sides of the foyer, are organized the exhibition spaces. The permanent gallery in the East is separated from the temporary gallery in the West, and can be visited together or in parallel thanks to independent vertical circulations, allowing future comprehensive exhibitions as well as smaller capsule collections. The connection in the permanent exhibition is conceived as a social and event space, a staircase as an auditorium for smaller lectures or inaugurations. The complexity of the program is solved in a very simple and synthetic way, five cores structure the program at every level but also help as a structural constructive elements and contain the form of the building. The upper floor is bathed in natural light coming from, modular trapezoidal skylights oriented north, diffusing the light and offering optimal lighting conditions for the art.

▼上层空间沐浴在朝向北方的模块化梯形天窗引入的阳光之中,天窗分散光线并且为艺术品提供绝佳的光照条件,the upper floor is bathed in natural light coming from, modular trapezoidal skylights oriented north, diffusing the light and offering optimal lighting conditions for the art  ©Simon Menges

砖立面唤醒了人们对这片工业历史场地的记忆,为整个体量带来了独特的纹理和充满活力的图案。从广场上看,垂直百叶窗的韵律打破了单一体块的厚重感并衬托出门窗开口部分。夜晚,百叶窗作为画布分散来自美术馆内部的光线,将立面转化为广场的一部分。广场设计的基本原理是塑造一个与美术馆进行对话的外部公共空间。如同建筑一样,它融合了工业历史的遗留——火车轨道和转盘。为了加强广场与火车站广场延续公共空间的重要角色,这里还将种植一些高大的树木,为人们提供阴凉。

The brick facades evoke the industrial history of the site and offer a texture, a vibrant pattern to the monolith. On the plaza, the vertical blinds’ rhythm break the massiveness of the monolith and reveal the openings. At night, the blinds serve as a canvas to diffuse the light coming from the museum, transforming the façade to the plaza.The founding idea of the plazas’ urban design is to create an exterior public space in dialogue with the museums. Like the buildings, it integrates fragments of its industrial past, the rails and the turning plate. Some tall trees will also be planted in order to reinforce its place in the public space continuum with the train station plaza.

▼夜晚,百叶窗作为画布分散来自美术馆内部的光线,将立面转化为广场的一部分,at night, the blinds serve as a canvas to diffuse the light coming from the museum, transforming the façade to the plaza  ©Simon Menges

▼美术馆及环境肌理,art museum and surrounding context

▼城市规划图,urban plan

▼首层平面图,ground floor plan

▼二层平面图,first floor plan

▼三层平面图,second floor plan

▼剖面图,sections

Full name: MCBA – Musée Cantonal des Beaux-Arts, Lausanne, Swiss
Museo Cantonal de Bellas Artes – Cantonal Museum of Fine Arts
Authors: BAROZZI / VEIGA, Fabrizio Barozzi , Alberto Veiga
Project leader: Pieter Janssens
Project team execution phase: Claire Afarian, Alicia Borchardt, Paola Calcavecchia, Marta Grządziel, Isabel Labrador, Miguel Pereira Vinagre, Cristina Porta, Laura Rodriguez, Arnau Sastre, Maria Ubach, Cecilia Vielba, Nelly Vitiello
Project team competition phase: Roi Carrera, Shin Hye Kwang, Eleonora Maccari, Verena Recla,  Agnieszka Samsel, Agnieszka Suchocka
Local architect: Fruehauf Henry & Viladoms
Project manager: Pragma Partenaires SA
Structural engineers: Ingeni SA
Services engineers: Chammartin&Spicher SA ;Scherler SA ; BA Consluting SA
Façade consultant: X-made SLP
Lighting consultant: Matí AG
Museum expert: BOGNER.CC

More: Barozzi Veiga  更多关于:Barozzi Veiga on gooood

Post a Comment